The Miseducation of Lauryn Hill

We listened to music in your dorm room early into the morning as the empathogens from the night faded. You played this Lauren Hill album. We talked about family. We talked about friends. We talked about love. We talked about your early life in Botswana. When the song To Zion came on, we became silent as it felt like the world stopped for us to listen. It was the most beautiful song I had heard. Soon the dorm came to life and it was time for me to go. That was our first and last time meeting. It was my first and last time listening to this song. It was the last time until today. This was the most beautiful song I've heard. I can't remember being this touched by a song before. Ten stars.

avoids melody like she avoids tax

This album was everywhere when it was released, the hype was crazy. It was hailed as this ground breaking thing, the best of the best, it won all the awards. It's decent enough, a fairly pleasant listen, but I never did understand why all the over the top praise for it. It's fine.

Listened to tool instead

Great stuff. A great mix of different genres. Heard elements of Stevie Wonder, Curtis Mayfield, Bob Marley etc. It's got really good flow throughout the whole album too. Ex Factor and Doo Wop stand out but no miss on the whole album. A shame it was her only solo studio album, maybe she felt like she couldn't top it.

Went on for too long.

Really disappointed with this, expected it to blow me away but found it mostly annoying

Lauryn Hill is iconic in her genre, and this is her most iconic album. A great inspiration for a lot of RnB and Hip Hop artists in the 00s and 10s. Many people may dislike the skits, but it adds to the narrative here, which has a complex backdrop of different samples and instruments, overlayed on hard kicks and beats that you expect from Hip Hop / R n B. All of it blends to give a truly 00s sound ahead of it's time. I could give a break down of every song but it would take too many words. Just know that there is a lot of range here, there is everything from acoustic guitar and gospel over beats, to more funky soulful tracks. I love this album if you haven't noticed already.

Nowhere near as good as people think it is. 3 or 4 decent songs the rest is filler. A bang average R&B album.

By 1998, I was pretty much out of tune with a lot of mainstream American culture. Obviously, not to the point where I didn’t know who Lauryn Hill or the Fugees were, this record and The Score were massively popular among my peers at my Catholic high school, but I was going to see punk and hardcore shows for $5 or $7 at the local VFW. The idea of following what was popular or which star was on top week to week was futile and uninteresting to me. It’s just not the lane I operated in. Still isn’t, as a matter of fact. So, as I listen to this record, I’m finding it well crafted, well performed (I always thought Lauryn Hill had a fantastic voice) and engaging. It has held up extremely well for a 25 year old record. It’s definitely enjoyable and I understand why it was and still is considered great. I think maybe the classroom interstitial breaks are a little overdone and the flow of the record is stilted as a result, but that’s a minor complaint. The thing is, music like this doesn’t really resonate with me like it does for a lot of the world. I don’t know why that is. I love a lot of hip hop, r&b, and soul music. It is something I think about a lot: what is it about some well produced, objectively great popular music that doesn’t move the needle for me? Maybe it’s that even when it’s making a bold statement like the Miseducation of Lauryn Hill does, it still feels…kind of safe? That could be a great strength, though, like a wolf in sheep’s clothing. (Huh, wow…that metaphor literally just came up in “Forgive them Father” - I might be closer to the truth than I thought). Maybe I need to take that view for a record like this. Yes, it is designed to appeal to as many people as possible, but it’s got a message that subverts and questions cultural norms…and that is an important an admirable trait for a record to have.

A real struggle to get through. Headache-inducing and painful to listen to (not in a good way). Faves-Forgive Them Father slightly less grating than some of the others. Actually, second half of the album may be a little less irritating. Still absolutely hated it, overall.

I remember this being really popular when it came out, but I thought it was shit. It was everywhere for some reason. Yeah, still shit. Just boring rap/r&b, riddled with dumb skits and of fucking COURSE it goes for over an hour. Didn't anyone in this genre take any interest in quality control after about 1993? Fuck's sake. 2/5.

I had my expectations set way too high for this one. It has some really lovely moments but you have to sit through some really boring moments to get to them. I will try revisiting when I'm stoned later and see if that changes anything.

made my morning feel like a month

This album is a masterpiece. Lauryn Hill's transcendent talent is on full display with top notch songwriting, beat-making, arranging, lyricism, singing, and rapping. The music is personal, political, and utterly self-assured. Her blend of hip hop innovation and classic soul/pop sensibilities has left a monumental legacy evident in artists ranging from Kayne West to Janelle Monae. Favourite track: Too many to name, but I can never get enough of "Ex-Factor"

Most overrated album of the last decades

Not a fan of this, I'm getting bored listening to it.

Doo Wop (that thing) is a cracking track... The rest of this album gets boring real quick. Urgh. The cover songs are genuinely awful.

starts off sounding like lofi then becomes funny woman rap..... k. second track pretty good. i guess the third track is ok. fith track is shit :). everything lowkey starting to sound the same. track 12 has a good backing i wanna say its a violoin but like its ruined by shit and isnt enough. holy shit too many repeated lrlishs please help stop -please. right i know you baught a drum mechiene but i dont care please use somehting elese please. the ends allright i guess but still shit album shit house 0/10. but accualy its fine i guess not my thing but yea still personlay its a but too much of the same and becasue its stuff of the same that i dont reely like its not good so still 2/10

Could this album be any longer? I get that this is a progressive album hearing life perspectives from the female side, and the whole classroom vibe at the end of some of the songs being about learning fitting into the vibe of the album cover and title. But sheesh it gave me a headache and almost put me to sleep at work. Any way something could have been cut from it's 77 minute track list? Best: Can't Take My Eyes Off You (I Love You Baby) Worst: When It Hurts So Bad

What do you call it when something is both overrated and underrated? That’s exactly how I feel about The Miseducation of Lauryn Hill. This paradox perfectly reflects its dual status: a genre-defining debut that was much lauded upon its release and still sparks debate about its true ranking in music history. The album encapsulated the zeitgeist of hip-hop’s crossover success in the late ’90s and propelled Hill to an unprecedented level of fame—particularly for a rapper, let alone a female one. It shattered barriers for women in hip-hop and neo-soul, elevating the genre's artistic credibility. Revisiting the album after years, I’m struck by how well it holds up even after over two decades. The opening sequence—Lost Ones, Ex-Factor, To Zion, and Doo Wop (That Thing)—is nothing short of phenomenal. Hill’s intricate wordplay and fiery delivery on Lost Ones set the tone, while the raw vulnerability of Ex-Factor remains as powerful as ever. On To Zion, her ode to motherhood paired with Carlos Santana’s soulful guitar creates an intimate masterpiece. Doo Wop (That Thing) blends sharp social commentary with irresistible grooves, highlighting her ability to create both hits and messages. The album continues its momentum with standout tracks like Final Hour, a brilliant showcase of Hill’s lyrical precision and spiritual introspection, and Everything Is Everything, where her hopeful energy is underscored by rich instrumentation. Even Can’t Take My Eyes Off You, Hill’s playful yet powerful reinterpretation of a classic, leaves a lasting impression. Throughout, Hill masterfully blends neo-soul, hip-hop, reggae, R&B, and gospel, delivering moments of genuine greatness. Her songwriting is deeply personal but resonates universally, balancing sharp, rhythmic flows with deeply emotive ballads. Recently named the number one album on Apple Music’s 100 Best Albums list, the accolade feels, at best, highly subjective and, at worst, borderline trolling. It’s debatable whether this is even the best album Hill was involved with in the ’90s (The Score with The Fugees is a strong contender). Still, The Miseducation of Lauryn Hill has undeniably influenced countless artists, from Beyoncé to Kendrick Lamar, cementing its place in music history. The fact that this stands as Hill’s only studio album makes it a singular, unrepeatable statement—simultaneously a gift and a tragedy for fans of her artistry. Did/Do I own this release? Yes, I own this release—if you can call a collection of mismatched, wrongly titled MP3s "ownership." Does this release belong on the list? For sure. Would this release make my personal list? It’s a strong contender because of her sheer versatility. Will I be listening to it again? At least half of these songs, like Ex-Factor and Doo Wop (That Thing), are truly timeless and deserve their enduring acclaim.

I bought tickets to Soulfest 2015 in Sydney almost solely because Lauryn Hill was scheduled. I was devastated when the festival was cancelled a week out. But earlier this year I saw Lauryn Hill perform a Miseducation 25th anniversary show in Sydney. She had the flu and almost no voice. She apologized profusely, sang mostly in her lower register, and by the end of the show her rapping sounded like a member of the Wu-Tang Clan. But Lauryn Hill on her worst day (and I'm sure she would think this was one of her worst shows) was awesome. She gave a performance that left everything out on the floor. She was gracious, generous, and giving to the audience. I am firmly of the belief that Lauryn hill is one of the great artist of our time, and that is mainly on the basis of this album. The songwriting is personal without being self-obsessed, and covers an encyclopedia of emotions. The tunes are great. She can sing like an angel, and her flow is outstanding. There is so much in here, Even the deep cuts are gems that offer up a lot. I often drop 'Lost Ones' into my DJ sets; it wasn't a hit, but it bangs. This album helped restore my faith in hip-hop, after nearly a decade of increasingly violent gangsta albums. I could live without the skits (a common complaint with hip hop albums), but otherwise, this is as close to perfect album as I could imagine. I could listen to it every day. At the show, she did say she had more music and that it would get released, and I really hope that is true. Miseducation is a wonderful album encompassing the concerns of a young woman, and Lauryn Hill has a place in history even if she never releases another else. But I believe that she has another album this good in her that could speak to her experiences as a more mature woman. I would _love_ to hear that. I hope we all get to hear it. Can't wait.

Way worse than I remembered it to be

A great mix of hip-hop with R&B, soul and reggae. This is such a confident and skillful debut and has a great legacy for a very good reason

Woooooahhhhhh wooooaaaahhhhhh one star

Lauryn is talented as hell

Still probably the best female MC of all time. This album is fantastic in about every way. Lauryn is also the most equal in talent between rapping and singing

Pre listening - I'm not going to like this. I detest rap and dislike hip hop - I hope this is better than that. Track 1 - Intro - 40 seconds and not even a pretence of bring music Track 2 - Lost Ones - Standard hip hop - awful Track 3 - Ex-Factor - OK song, but with really annoying sound efects added - why? Track 4 - To Zion - A Santana collaboration - which is to say pure Carlos Santana - average for him Track 5 - Doo Wop(That Thing) More hip hop - slightly better than Lost Ones Track 6 - Superstar yet more Hip Hop - irritating At this point I stopped. She obviously is a hip hop artist, which is a shame because from what I heard she has good voice, just needs some real music

really not a fan. two stars? i made it through, but barely.

I think this is the first album in the 70-odd that I've been presented with on this project that I feel everyone should listen to at least once in their lives. It is very clear that Ms Hill poured her heart and soul into every recording on the album, and the result is quite beautiful. I would give this album 10 stars if I could and it's definitely going into my Tidal library.

It's an incredibly moving album. Beautiful and mature.

Straight up fire 🔥

Modern classic. Perfect blend of neo-soul and rap. All the singles are fantastic, especially Everything Is Everything

The album is so human. I don't know how else to put it. It acknowledges and adresses many of the things that influence us, religion, school, our peers, societal constructs. The beats are driving and the songs were written in the context of each other in a way that is missing from many albums. This was a cohesive project and tells a clear (and well articulated) story from beginning to end.

In my lifetime, I’ve made three or four attempts to get into this album to understand the hype behind it. My conclusion is that it is mediocre - nice instrumentals but a bit too long and few standout moments. It’s just pretty bland R&B with hip-hop drums and a bit of rapping. There’s a couple of great tracks (Lost Ones and Doo Wop), but the rest is pretty boring.

What an incredible debut! I can't wait to hear what she does for her follow up album...

Unbelievable album. A debut album at that. I hate to be that guy but if you are doing this album generator I’m assuming you are doing this for the love of the art of music. This is art. If you do not appreciate this for what it is I believe you may have some internalized bias such as racism or misogyny. I see way to many negative reviews on this masterpiece and everyone single one of them seem to stem from one of those two reasons. Again, this. Is. Pure. Art. Lauryn Hill inspired an entire generation of rap artists. We would not have gotten the Kanye we got if it wasn’t for Lauryn and this album specifically. This is truly a masterpiece, from production to musicality to composition to wordplay. Truly a spectacle of the rap genre. 5/5 and possibly my favorite album of the generator yet.

One album after giving Skepta a (high) two on the basis of interludes and excessive length, we have this which also has interludes and is even longer. But this gets away with it because of the quality of the material. Hill's voice, whether rapping or singing, is great. The singles are excellent (esp. Doo Wop). Slightly drops off in the second half, but still sneaks into a five.

Loved the bits from the classroom talking about love. The album was sonically great, and the lyrics were interesting as well. There was R&B, hip hop, and even some reggae. Cool album, would definitely listen to it again.

Great album. Nice mix of hip hop, r&b, and soul. Lauryn has a great voice and delivery. Every song is good. I could do without the skit interludes attached to end of most songs - I don’t want to hear that in a shuffle - would be nice if those were separate tracks. Favorite tracks include Ex-Factor, Doo Wop, When It Hurts So Bad, Nothing Even Matters, Everything is Everything, Can’t Take My Eyes Off of You, Tell Him.

Great production. Some filler but great singles especially.

She has a lovely voice, is a great lyricist and songwriter, every feature enhanced the song they were on, and despite being from the 90's, it doesn't sound like it was recorded in an indoor swimming pool. It's probably just personal genre preference for why I won't give this a 5, but this is a very strong 4. I understand why others hold this in such high regard, and if I revisit I could see myself rating higher.

Soulful lyrics, great hooks, clean production – truly a beautiful blend of greatness. My only gripe is that I feel it's a little front-heavy and could've been condensed slightly.

My biggest surprise today was that this did not overstay its welcome despite needless length, that it has just the right amount of friction and hook to stay perpetually on, well-supplied with sharp moments that pull you closer for a moment before letting go. It’s a compellingly lazy listen. I saw Lauryn Hill play a set at the 2007 Exit festival in Novi Sad, and I’ve jumbled the memories with those of the Beatie Boys the night before: both were ragged jam-band rambles, the only distinguishing features I recall being Hill’s enormous hat and my drunken friend Dan triggering a 200,000-person roar by shouting “Beachie Boys Woo Woo!” while we were waiting for the trio to arrive. Yesterday, we listened to an outstanding debut that loosed a voice that still explores, still sets a standard that others can be marked against. Today we’ve a voice that felt like it was everywhere with everything for a while, but never returned in force. I’m not sure this record is a repeatable trick.

This is the late-90's equivalent to today's Grammy-bait slop such as Jon Batiste or H.E.R. The difference is back then people were tricked into believing it was actually good. But alas, Ms. Lauryn Hill quickly exposed herself as hack with her disastrous MTV Unplugged 2.0 set. This album certainty has the appearance of a classic record but fall apart upon closer inspection. Unbelievably overrated. Key tracks: Doo-Wop (That Thing)

just wow

2 songs in so far, truly so beautiful. Have only heard the hits from this, so excited to see/hear more. Goddamn the final hour is crazy The last verse of forgive them father is fucking jumping. Also the snips of a kids classroom at the end of songs is oddly nostalgic for a white kid from WV This is the best r&b, the best gospel hip hop, really kind of the epitome of these genres I think. I don’t know anything about her writing process, but if this bitch is writing this and singing and rapping this, she is truly maybe the best to ever do it, everything that is. It should be criminal to be this talented. Ok, in finishing the album, and having an hour or so to think on it, this shit was the shit. Over all, only due in fact that this isn’t a genre I listen to often, instead of a perfect 5, I’ll say a strong 4.7/5

When I saw this was my album for today, not to set my own expectations too high, but I jumped for joy. I've been meaning to listen to this for a while and felt it would probably interest me after enjoying Songs In The Key Of Life so much. So anyway, were my high expectations met? Absolutely. This album is so beautiful. The lyrics are amazing, and whilst it took me a few tracks to get into the vocals, both the singing and the rapping are extremely passionate and emotive. I also really love the beats and production, it's a pretty damn perfect album. I don't really know what else to say other than stuff I said about Stevie Wonder, but I do really need more music like this in my life. Sure, some insane Bull of Heaven drone shit or Brian Eno at 1am will never not be a transcendental experience, but this is actually so uplifting and inspiring, whilst shedding light on the lives of a marginalised group I'm not associated with often at all. I like what I like sure, but in life I really strive to experience as much as possible and as a often atheistic white AMAB non-binary bisexual person, the experience of black Christian women is something far from my own, and something I loved learning about through this album. It's a testament to Hill's immense talents in all aspects of music, and I'm going to go back and do some Fugees soon too since I used to play Ready or Not in my drumming lessons.

Excellent album. I've listened to this before, only because it's on so many all time lists. Apple listed it as number 1 on their recent top 100. Is it as good as Dark Side or Sgt. Peppers? Probably not for my money, but I'm two steps from the move. Unfortunately the move is shaking my fist and telling kids to get off my grass.

Ah. Now here's something I can agree with Dimery and Co. on. This is a 'must hear' mainly because there's so little female POC representation on this list. You cannot go wrong with this one and it's an absolute treat that I'm going to sit through a complete listen today. Many of the tracks have been in heavy rotation in my playlists, iPods, etc since this released in the late 90s. and I still love bumping into some of them today. ****** (4.5/5) An honest appraisal of this has me remembering how the middle of the record kinda saga. She could have cut a few songs, because it drags for a while. BUT, that said, and in continuing protest this gets rounded UP to a'5'. Ms. Hill can recognize the importance of 'groups' from the 60s (see "Doo Wop..") and is a direct recipient of their influence (see THE REST OF THE ALBUM) why can't Dimery and Co?? You have no heart if "Everything is Everything" doesn't move you. Masterpiece.

This is the first hip-hop album on this list that I can really connect with. Unlike the previous ones, the tracks on this album hit you right in the soul. The storytelling, the flow, the rhythm. Everything about this album is perfect! Some say this album is too long, but I am willing to give 77 minutes of my time to enjoy this soulful experience again and again.

Went in expecting another overrated album, but came out pleasantly surprised.

embarrassingly, my very first listen of this classic. just an absolute miracle on every level...one of the most masterfully dexterous records ive ever heard. on a surface level theres ofc lauryn's obviously hyper-versatility in singing and rapping, but theres also just a precision and color that effortlessly turns all the late 90s hip hop album "weaknesses" into strengths...its long but feels refreshing all the way through, and its built around a series of pseudo-skits that have to be close to the very best in the entire genre with how well they genuinely enhance and contextualize the music. and for all this, the lyrical content is kind of starkly un-grandiose...just a bunch of Emotional Truths given the most effortful delivery possible. in a weird way, maybe the most humble album that also loudly screams I AM A CLASSIC. glad to finally check this one off!

lives up to every piece of hype

The Miseducation of Lauryn Hill is a classic, perhaps the greatest melding of hip-hop/R&B, soul/reggae. It’s a feminist statement of power and independence. Hill is a fantastic lyricist and M/C first and foremost 9.1/10

Amazing, generation-defining album.

It took me a while to process "The Miseducation of Lauryn Hill" and decide how to review it, just like it takes a while for Lauryn Hill to show up for her concerts. But regardless of the many meandering journeys Hill's career has taken since the release of this album, it remains a masterpiece. There are a few duds scattered among the 16 tracks, but there are so many standout classics that a boring track or two can be excused. The most interesting thing about "Miseducation," though, is Hill's ability to reach such a peak only to never find it again. There have been plenty of one-hit wonders, but Hill's output with the Fugees and in her solo debut go well beyond one-hit status, but the twists and turns of her career and life have prevented audiences and fans from ever really seeing if she could sustain the success through a second album and beyond. It's fairly common for a musician to have a hit and then fade away, but it feels much less common for a singer to create such a masterpiece and then have no meaningful follow-up.

Annie loves this one. For good reason. It's a crown jewel of 90s hip hop, right? And, Lauryn Hill is just so cool. Babe too. Sister Act 2 babeliness. Her voice is so great. Raps and melodies. And, just, like, the smoky sound of her voice is so appealing. This record jams. As a musician, I'm inclined to attribute this to her excellent band. But really, it's 80% Hill. She carries everything, including the Fugees. This record makes that clear. Her multi-tracked vocal harmonies are other-worldly. She uses harmony intervals that set her apart from others. Like CSNY and Alice in Chains do. Only with soul and attitude and smokiness. God this is so good.

Her only solo album, and it continues to have more impact and appeal than many other artists have in their entire careers. Your mileage may vary on the brief interludes interspersed throughout the album (I'll admit, I'd rather they weren't included, but thankfully there aren't so many that they become annoying), but my God, there's not a clunker in the bunch of songs. I can't get enough of "Ex-Factor" and "When It Hurts So Bad". Reminds me a lot of Nina Simone, Nenah Cherry and even Joni Mitchell while still being it's own unique thing. This album deserves the praise it continues to receive, and my hunch is a major reason Lauryn Hill never really even tried to make another album is because she knew nothing could top this. By the way, my rating takes into consideration the 2 hidden tracks: the cover of "Can't Take My Eyes Off Of You" and "Tell Him". They might be my 2 favorite Lauryn Hill songs, and they're what puts the album over the top into 5 territory.

A fantastic collection of what the 90s hip hop sound was.

sem defeitos

MS LAURYN HILL

Very cool album

The classroom samples were really cool and furthered the message of love. After looking at the background of the album I had a greater appreciation for Laura and her life struggles. Never really got into soul but I think this was a good introduction

amazing. a cultural staple.

Classic hip-hop album. Great R&B vibes with great writing and rap over the beats

Classic for a reason

One of the tip top hip hop albums of all times. Magnificent.

I FUCKING LOVE THIS ALBUM.

Classic

10/10

Didn't like it at first, but it's a masterpiece

Straight fire. Classic through and through.

false

It might be an unpopular opinion, but I feel like this is one of the more overrated albums of all time. Don't get me wrong, it's good, bordering on REALLY good, but I just don't think it's GREAT. I've listened to it multiple times over the last few decades and have TRIED to love it, but I still feel like I appreciate the message more than the music itself, and while (as a concept album) it tells a good story with a solid theme, it tends toward monotony, and the constant classroom segues get annoying after the third or fourth or fith track. All that to say that it easily garners a 4/5 from me, but never shook the 5/5 out of me that I'd expect from all of the love and accolades it's received.

115. The Miseducation of Lauryn Hill - Lauryn Hill (1998) 6.17.26 Variety: 3 Adequacy: 5 Listenability: 5 Uniqueness: 4 Emotionality: 5 = 4.4 rounded down to a 4 "I wrote these words (I wrote these words) for everyone/ Who struggles in their youth/ Who won't accept deception in/ Instead of what is truth (Gotta know the truth, y'all)" THE TRACKS "Lost Ones" - Damn. What an opening statement. A deeply personal diss track ( Wyclef Jean has had some much more public scandal in recent years, but look up the details on this one to see just how justified the fieriness is on here) that comes full force at the target and doesn't hold back. Hill's flow is tight and nimble as can be, and it's doubly impressive after coming off a string of giant hits where she was already a powerhouse rapper. Her phrasing and flow on here are on point and I think she's up there at least with with Missy Elliott and Busta Rhymes as far as big names go. I think too much is made of the "rap singing" as some strategic concept that changed the game forever after this. No doubt a lot of performers were influenced by her, and it became more common. But this is just her style in full bloom. She can do both exceptionally well, so why would she not show off those talents. This one is primarily her rap skills on display though, and I think that's part of the statement. "Watch what I can do without you chumps. Deal with it." Some rappers can sing. Some try to sing with mixed results (Biz Markee, Flava Flav). It's whatever works best for the song, and this one required her to lay down the law. A high water mark. "Ex-Factor" - We go from the diss track to an examination of WHY the diss track was necessary. This is the two of the one-two punch, and we get a very clearly delineated separation between Hill's to great strengths with her singing in the spotlight here, for a kind of slowly unfolding song about confusion, betrayal and regret. Very strong stuff, but I'll admit that I prefer the former mode though. The guitar at the end doesn't quite work for me either. "To Zion" - Speaking of, we get a guest appearance from Carlos Santana here on a sweet and emotional mid-tempo number about her son. Santana provides the throughline here with his pretty lead, but he doesn't overpower of steal the spotlight from the content or Hill's passionate proclamation of love for a newborn. "Doo Wop (That Thing)" - Ooh. An all-timer here. Catchy as FUCK bop about empowerment for both men and women, which splits the difference and serves as both a warning and AND a positive message about responsibility while at the same time being an examination of love and the mess and fallout when it's confused with that other thing. You know... Hill remains in full power here and is supported by some of the finest ear candy of the latter half of the 90s. A song that is almost ALL hooks that I had to play like three times in a row just because. The breakdown around 2:50 when the guys and gals all join in together is a goddamn DELIGHT. This might be the one case where the classroom skit adds a tiny bit extra to something that doesn't really need it. Supposedly recorded in a real classroom, with real answers form real students, this one is just that much more charming and insightful, and maybe the best case for the inclusion of these. "Superstar" - Hill proves she can even throw the gauntlet down with an easy casual entry. Just as acerbic as "Lost Ones" as far as takedowns go, and some very interesting dynamics, but musically this is just not my thing. This feels like a rest spot for Hill, to drop some wrestling terminology. Useful, and important for building up for those later high spots, but isolated and an easy way to lose the crowd if you dip in too long. "Final Hour" - This was some tight, and driving stuff. Hill propels us forward with barely a breath taken in between verses about retribution and reward, and people getting what comes to them. Solid. "When It Hurts So Bad" - This feels like the flipside of "Ex Factor" where after the anger and hurt fades away the self reflection, doubt and the blues remain. This one is a bit jazzier though, and Hill goes hard into the upper registers of her singing ability putting some real English on her phrasing. The harp, which could have come off as cheesy, works as an accent here. "I Used to Love Him" - Mary J. Blige hops on board for a feature. This is a much more successful re-tread of the same material. So much pop music is about either love lost or love not yet gained, and Hill seems profoundly interested in the former on this album. It's not tiring though, as it could be because she's finding all these little interesting nooks and crannies to explore some different aspects. But, two in a row makes the deficits in the previous track stand out a bit more. Instrumentally this has a drive and determined feel to it that works much better for me. And Blige adds some special sauce to the mix. "Forgive Them Father" - Another warning track, this time a little less ebullient, as it's all about the snakes in the grass who are lurking in wait, ready to take a bite. It's hard to NOT read this whole album as Hill working through what must have been a very upsetting and painful period in her life, but damn... I wonder if Wyclef Jean had to go into hiding for a while after this came out. Even if most every song on here is not actually about it him, it must have felt like it. This track is diverse, and full of penty of elements to like. Musically is not that adventurous, but works well still. "Every Ghetto, Every City" - We get an upbeat, bouncy, funky origin story of sorts here as Hill switches things up, and leans hard on nostalgia for both the good and the bad. This one was joyous and needed, and came at just the right time to keep the last half of this from descending into a ( still VERY listenable) pity party. "Nothing Even Matters" - D'Angelo stops by so no matter the content, this one can't help but be a slow jam. Instead of a the pessimistic promise of the title we get a sideways take on the phrase in that the world outside doesn't matter anywhere near as much as the double orbit of the two lovers, still in flush ( presumably) of new love, when routine, and familiarity are distant threats. Soothing, beautiful and a charming take on the subject. Dig the snapping percussion here and the electric piano which oozes sultriness. "Everything Is Everything" - The other giant hit off this gives us a serving of some philosophy, with a side of self-hype - in the micro with herself - and in the with every one else. Inspiration and self love, and getting over and getting on. This one seems perfectly paced in the track order to feel like he growth and acceptance at, if not the end of the road, at least the bend, where the future might not be certain, but you feel more prepared for what's coming. Musically this is a tight, wholly formed low key bop. Once again, proof that mass appeal does not mean lowering your standards. "The Miseducation of Lauryn Hill" - We get some more positive affirmations and self assertiveness in this fine little almost gospely track that is more or less unadorned. The production with teh vinyl crackles I could have done without as I don't think it added much, and felt like it was covering for some unsurety. "Can't Take My Eyes Off You" - In my mind this was maybe the last single? Strange that it's listed as a hidden track here. But I guess being a cover it felt like more of an appendage, despite being a great take on the Franki Valli original. This sits next to "Killing Me Softly With His Song" in her catalogue, but WAY lower down on the bench. "Tell Him" (hidden track) - We get a lovely take on the ambiguous love song that could be about Jesus or maybe just some dude, or a child or whatever you want. Fine enough, but also easy to see why this was a hidden track as it's not exactly on message with teh rest of the album. HIGHLIGHTS - "Lost Ones" - "To Zion" - "Doo Wop (That Thing)" - "Final Hour" - "I Used to Love Him" - "Forgive Them Father" - "Every Ghetto, Every City" - "Nothing Even Matters" - "Everything Is Everything" - "Can't Take My Eyes Off You" MIDLIGHTS - "Ex-Factor" - "Superstar" - "When It Hurts So Bad" - "Tell Him" LOWLIGHTS - FINAL THOUGHTS What a solo debut. It's a shame we never got a proper follow up. I recall the Unplugged set being great, but would have to revisit. And she's continued to perform, and I think even drop the rare single, but it seems like legal troubles, and life in general just got in the way. Maybe by now she feels the pressure of following a certified classic, and we'll never get it, but I'd be down for hearing that eventual sequel. Especially with all the extra bits of experience she would be able to thrown in. Despite the obvious greatness on display here, it's still got some fat on it, and is not helped in my estimation by being in a genre that is just not one of my go-to's. A distinction to be made here as I feel it warrants it - this is a 5-star entry into the genre, but falls just short of that on a pure personal enjoyment level. My biggest gripe about this album is I thought the skits were entirely unneeded. As charmingly casual and sincere as they seem, they just didn't add anything. Is there an edit out there without these? With just the highlights ( still a run time of just over 57 minutes!) from this and the skits all but eliminated ( see above) and this would sit on my shelf as the classic it deserves to be seen as. Otherwise, I think this still holds up incredibly well, and was a breath of fresh air coming right after Snoop Dogg's Doggystyle with it's pretty gross and basic outlook. In comparison, this runs the full emotional gamut, providing narratives that are at times sad and uplifting, with stops for both fun and social critique in between. This has aged like fine wine, where the previous ( fun as those samples are) is like the wine cooler you found at the back of the fridge that's 2 years past it's sell by date, but which is still drinkable, and good for a sugar rush. PLAYLIST ALTERATIONS - Nope FURTHER LISTENING - The Score by Fugees - Aquemini by Outkast - Baduizm by Erykah Badu - Songs in A Minor by Alicia Keys - To Pimp A Butterfly by Kendrick Lamar - Flower Boy by Tyler the Creator

"You said you'd die for me (Give) Give to me, give to me Why won't you live for me?" I have avoided this album for most of my life. Not actively though, it just came out during my late teenage years and seemed like something I could skip. Yeah, I know that is quite the statement for an album that went Diamond in the US and won five Grammy awards out of ten nominations. Didn't matter to me, I was a goofy white boy teenager listening to Metallica and Korn at the time. Lauryn Hill was way off the radar. Which is why it is important to expand your horizons as you get older. This album was excellent. Lauryn Hill's voice is powerful and even that is outdone by her sheer confidence. Yesterday I said Snoop Dogg checked all the hallmarks of a rap titan; Confidence, flow, timing, and camaraderie. Hill meets all of those standards and then some. Her flow on "Lost Ones" sets a tone for the rest of the album. She's got just as much influences peppered through out the album as well as guest spots. You can see in the music and the lyrics, Hill has set her priorities to her will, and she is not going to suffer fools. This album is a blueprint in maturing into an adult. Had I given it a listen during my teenage years all of this would've went over my head. I didn't have the patience for the music nor the experience to understand. Put this album in the category of it found me at a better time in my life. Who cares if she didn't spend the next twenty years dropping album after album of new music. She gave a masterclass in music, she gave as much as she wanted to give. Its up to the audience to appreciate when that is enough. 4/5 Track Highlihgts Lost Ones Ex-Factor Doo Wop (That Thing) Forgiven Them Father

Nearly a perfect album. Not a fan of the extended classroom sounds or the "hey, we're all just sitting around shooting the shit" bits and a couple of the tracks are good but not great. 4 stars.

Yeah makes sense why this is so highly regarded. Points deducted for an uncomfortable amount of Israel mentions x

I don't think she'd like me listening, but this brings me back. Quality.

An album which sought to strip back the studio feel to create a more intimate, live-feeling performance. This is done not only musically but through segments where a performer, presumably on stage, addresses the “crowd” (us listeners). We are treated to prominent, “Low-End Theory” esque bass lines that mingle with wide-ranging harmonies not out of a place at a church choir, and there are a few cameos from flutes and blues guitars. Meanwhile, Lauryn Hill flaunts her vocal range at many turns, sounding at home both rapping and singing about subjects as varied as feminist anthems and gospel music. While it has been credited in reviving "hip hop" and "neo-soul", it can probably not best described as belonging in one, or even a category of genres. Such is its legacy; it is a "music" album.

I love when I listen to an album outside of my wheelhouse and can hear and appreciate the genius that went into its creation.

Surprisingly good in that Soul/R&B some Hip-hop is not my goal to genre. Concept album, 'educating oneself about love' (fairly long at 77:39). Quite different than the Fugees material, light on hip-hop heavy on soul. Has Carlos Santana as a guest musician. I think what I liked most is the album sounded raw (underproduced) for 1998. Contains radio hit Doo Wop (That Thing)

Can see why it’s a classic, enjoyed the listen

great album all the way through. hate the talking though. i get it as a concept but it takes away from the flow of the album and the musicality of it

Really good. Liked Doo Wop, Ex-Factor, and Can't take my eyes off of you.

A stone cold classic. When I think about it Doo Wop (That Thing) is probably one of my all time favorite songs. I haven’t spent enough time with this album, it’s fantastic.

Captures a point in time perfectly, skilful and tuneful although overlong. Again, we didn't know how good we had it.. for some reason this album sounds like the pre-9/11 world more than any other and I love it for that

Undeniable talent: multilayered tracks with her melodic voice winding throughout like silken tendrils. She seems equally at home with singing and rapping. It's not my go-to style of music to listen to, but I can recognize the gem that this album is. And in this case, the top-tier quality trumps my personal preferences.

The Miseducation of Lauryn Hill Haven’t listened to this in a long time, a long time. It’s easy to forget how popular it was when it came out and looking back how different it was to a lot of mainstream male-fronted hip hop and r’n’b. Skits aside, the first half absolutely rips. Lost Ones, X Factor and Doo Wop are fantastic, great lyrics, delivery, samples and arrangements. Doo Wop is my standout track but the Bam Bam interpolation and bear of Lost Ones runs it close. To Zion, Superstar and Final Hour are also great tracks, the Light My Fire interpolation and sample on Superstar is brilliantly deployed. Final Hour’s aggressive rapping and flute sample are a nice counterpoint to some of the more r’n’b style singing elsewhere. It’s of course hard to maintain that quality and it is definitely much more uneven after Final Hour. When It Hurts So Bad and I Used to Love Him descend sharply into aimless and melodically moribund territory and they both feel a bit fat dude with a 5 string bass and hackneyed r’n’b vocal runs. Forgive Them Father is decent, and Every Ghetto, Every City is excellent, a real highlight, it’s Stevie-eque funkiness is fantastic, and along with the superb Everything is Everything they are the highlights of the back half, strewn amongst the more unremarkable and humdrum 90s r’n’b workouts. It is a great album though, with some truly excellent music, it’s just a shame it suffers from CD bloat with a handful of actually quite tedious tracks and too many skits tacked on to the end of some of the tracks. Because of that I don’t think it can be a 5, so a solid 4 it is. 📚📚📚📚 Playlist submission: Doo Wop (That Thing)

Smart, confident hip hop, with reggae and soul running through.

Now I get it. I loved this

I really like how some of the songs are connected through the theme of a classroom. Overall, album is really solid. Every song is really well made and transitions well between each other. Only problem is it is a little long.

The more concept albums I hear, the less I appreciate concept albums in general. This one still easily falls on the good side of the concept album spectrum, which is refreshing. The production is really nice to me, borders on super slick 90s pop style while still sounding pretty organic and loose. Very good stuff.

Apple's recently announced top album of all time. I had never listened to this record but I've been meaning to. It feels very personal and intimate. Her range on this record is very impressive. I love the themes of love and stuff as well. The snippets of conversations really made it feel intimate. I can appreciate this album a lot but in the end, it's just not really a genre that captivates me.

Quite clearly a fantastic album. This time through I noticed the musical flourishes, that are a little tricky to pick up when you’re too busy being wowed by Hill’s seamless transitions between forceful rhyming and soulful singing. I’m talking about that feeling in Lost Ones that the whole song is about to blow up, but the firm hand on the production that prevents it from doing so; I’m talking about the background voices that make Doo Wop (That Thing) sound like a hmm-ing room full of girlfriends. My only gripe, and it’s a mild one, is that I don’t quite feel the album sustains it all the way through, but when it hits it hits hard.

That was ok!

🎧Handful of really amazing songs, but pretty bloated overall. There’s probably a damn near perfect album in here if trimmed down to a single LP. Skits/dialogue are annoying and unnecessary too. Standout songs: Ex- Factor, Doo Wop (That Thing), Everything is Everything.

Too long, felt pretty samey. I really don't think I'm the audience for this.

The generator was cruel with this one. I didn't like her voice or at least the vocal techniques that she used. The hip hop beat behind her was one of the most generic I've ever heard. Waste of my time.